Directivity:

1. Opening up your real voice capabilities.
2. Improving your skills, developing your own “I” in new directions (plastic and voice improvisation), fluency in voice and body, working with text during the training.
3. Many exercises from the Grotowski system, adapted by us for working with non-professional actors.

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The cycle is dedicated to mastering the basics of acting and the initial techniques to achieve a creative state. Mastering theory and practice is organically combined with practical lessons in the skill of the actor. Also, the most important task of the first stage of training should be considered the most complete identification of the individuality of each student. The program is based on the principle: “from conscious mastery of artistic technique to subconscious use.”

The final result of the training is an open show, friends, acquaintances, relatives are invited as spectators, as well as the presentation of a commemorative diploma on passing trainings in acting, stage speech and stage movement.

Acting trainings:

1. Exercises on the elements of action
2. Sketch exercises

Stage speech (oratory).

1. Study of the natural data of the vocal and speech apparatus of students, the identification of their creative individual characteristics.
2. Mastering by students the techniques of correcting their speech deficiencies, the development of the speech voice, work on the dictionary purity and culture of the sounding word (correct speech pronunciation).
3. Acquaintance with speech-voice training.

The main task is to develop qualities and skills that allow expressive “to speak” with your body on stage. To form the so-called “multidimensional” attention (K.S. Stanislavsky’s term), i.e. development of the ability to correctly, purposefully distribute attention between several objects. Such attention is one of the components of a truthful, logical existence on stage.

Upon completion, you will learn to:
• Grab and hold the audience’s attention.
• Behave more confident in stressful situations.
• Improvise on stage.
• Learn to remove psychophysical clamps.
• Control your voice.
• Be organic in all anticipated circumstances.

As part of training at the school of acting, optional events are held (film evenings, skits, master classes with leading teachers of theatrical universities, joint trips to the theater, open shows) aimed at the cultural and aesthetic development of the individual.

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These theater courses can give practical results only with high activity and bright initiative of students. The program is flexible, it is adjusted in the process of working on the production. In addition to warm-up acting trainings, depending on the tasks that arise, teachers of vocal, stage movement, dance, and theater history are invited to conduct a master class or prepare a particular scene in the performance.

In the structure of this stage:
· Interaction with a partner on stage.
· Work in an acting ensemble.
· The basics of working on a play.
· Mastering the process of staging a performance.

Theoretical part.

1. Production plan:
   A) dramatic analysis;
   B) stage interpretation;
   C) the composition of the performance.
2. Working with an artist and composer.
3. Work on the character.

Practical work.

1. The choice of material (play, prose, poetry, documentary materials) for the implementation of the course performance.
2. Detailed analysis of the selected material in the classroom.
3. Drawing up a general director’s staging plan for the performance.
4. Distribution of roles.
5. Work on the collection of additional material on the theme of the performance being created: reports, visits to exhibitions, watching films, etc.

Rehearsal work.

1. Independent work of students on the development of the concept of the performance.
2. Demonstration of the stage version of the idea
3. Discussion and development of the general concept under the guidance of the director-master of the course.
4. The embodiment of the plan.

Work on the release of the play.
Carrying out mounting, running and dress rehearsals.

Result: staging a training performance and showing on the stage of the Theater in front of the audience. If the artistic council of the theater decides that this project has artistic value and deserves to continue, then the performance is included in the repertoire.

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In the structure of this stage:
Acting trainings
· Work on dramatizations. The basics of working on a role.
· Work on improving the vocal apparatus. Speech specificity.
· Development of body plastics.

Theoretical lessons:

1. Conflict is the basis of drama.
2. Theme and idea
3. Event, the nature of its occurrence and the principles of its organization.
4. Super task.
5. Verbal action.

Practical lessons:

1. Mastering acting instruments by the method of M. Chekhov, Vs. Meyerhold, E. Grotovsky, other masters of theatrical art (depending on the direction of work proposed by the course leader).
2. Creation of sketches for the construction of the event.
3. Studies of interaction with a partner on stage.
4. Work in an acting ensemble.
5. Student’s choice of a scene from a play for stage implementation.
6. Distribution of roles. Search for character archetype.
7. Improvisational stage of work.
8. Embodiment of the staging concept: organizing the stage, mastering the character’s line of behavior in accordance with the found archetype, creating an atmosphere.

The main tasks of working on stage speech:

1. Conscious mastery of a complex of elements of internal and external techniques of verbal action.
2. Education of the voice as a spokesman for thought, expanding its range, flexibility, strength.
3. Possession of the tempo-rhythm of speech.
4. Development of stage-sounding consonants (so that they do not disappear in the stage-sounding voice).
5. Particular attention is paid to the ability to “build” the reading material in perspective. Plastic
6. General developmental gymnastics
7. Techniques for some special actions (for example, falling).

The final result of studying at the acting school at the 2nd stage is an open show of theatrical excerpts, friends, acquaintances, and relatives are invited as spectators.

The post Advanced course appeared first on The Hypocrites.

Stage combat is an integral part of the education of a dramatic actor.
Action on stage is conflict, and stage combat is conflict pushed to the limit.
In order to do this safely and convincingly, you first need to learn how to interact.
In addition to the fact that on this intensive you will learn how fights are done in theater and cinema: slaps, kicks and punches, falls are played out, as well as simple tricks; we will learn the most important skill for an actor – it is sensitive work with a partner.
That is why this intensive is not only for those who are passionate about combat interaction, but also for everyone who wants to deepen their stage partnership skills.

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The course will bring you as close as possible to the theatrical world. We will develop all the elements of acting psychophysics: attention, imagination, communication, work with voice and body, etc. We will also pump up creativity and improvise. The course will become a highlight, and maybe even change your life for the better!

COURSE OBJECTIVES

• We train active communication and the ability to work in a team.
• We will become more proactive and learn to trust other people in the team.
• We pump imagination, our creative possibilities and our creative personality.
• With the help of the preparation of the speech apparatus, we will perform the following tasks: public speaking, singing, speech performance.
• We get new experience and impressions meeting bright people.
• Let’s recharge with energy for new achievements

PASSING THE COURSE, YOU:

• You will gain basic acting skills and learn the secret tricks of being on stage.
• You will reboot and find inspiration for self-realization in any area of ​​life.
• You will get to know and feel better your body and its capabilities.
• You will become more confident in yourself and get acquainted with your creative component.
• You will receive a charge of energy that will last for many months.

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A maximum of practice is waiting for you on our course. No blurry abstraction. It’s time for effective specifics. You can talk for a long time about improvisation: how useful it is and what it gives you, but all this will be zero if you do not do the most important thing – go on stage, try, make mistakes and try again. Therefore, we pumped up our course by 200%, building the course of classes in the form of acting simulators, dividing them into three blocks – three whales of improvisation. We will pay attention to each component, each of the three basic elements.

Prepare for the fact that you will have to relieve yourself of any responsibility for the results of your imagination.

COURSE OBJECTIVES

Develop the ability to actively act in situations of novelty and uncertainty; generate new ideas.

Work with the emotional psychophysical response of the partner (empathy, impressionability, sympathy).

Learn to concentrate attention, keep it on one or more objects, manage your emotions, feelings and reactions.

Explore the relationship of emotions with the body, work on expression not only verbal, but also bodily.

Get new experience and impressions by meeting outstanding people.

PASSING THE COURSE, YOU:

You will become more open in communication.
You will gain the experience of stage performances in front of the audience.
You will be able to come up with, propose and implement your ideas without hesitation.
You will feel your body and learn to activate it in any situation.
You will gain confidence in movement.
You will develop a sense of empathy, imagination, the ability to form an idea in an artistically infectious form.
You activate the work of the subconscious and imagination.
You will become more flexible in your skills and abilities in accordance with the environment.
You will be able to act on the basis of what happened here and now.
You will learn not only to offer, but also to refuse more boldly. Not only to lead, but also to follow.

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